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A substantial part of music education takes place outside of scheduled lesson time. This study has been based on the concepts of formal and informal learning. The purpose of the study was to explore how ensemble teachers in upper secondary school's aesthetic program with music orientation organize their teaching to stimulate an increased degree of independence in students. A phenomenographic approach was employed. Qualitative semi-structured interviews were conducted with six ensemble teachers from aesthetic high schools. The material was analyzed, using a phenomenographic method. The results of the study indicate that the teacher's leadership roles varied, depending on the pupils current learning process and degree of independence. The teachers described how they motivated students by working with student-selected repertoires. The results also indicate that homework was rarely given and that students learned a lot by themselves, using strategies such as planking, playing to recordings or via instructional videos on YouTube. According to the teachers participating in this study, the rehearsal method they used during recitals had a correlation with their perception of how pupils learned music on their own. Three types of leading roles were identified: the enabler, the active coach and the controller. The enabler’s intention was to initiate a learning process and then let the pupils manage the recital activity. The active coach was involved in the ensemble activity and contributed to the learning process. The controller managed several ensemble groups simultaneously and divided his or her time between these ensembles to make sure that the pupils work progressed. This study suggests assigned homework such as an extra scheduled ensemble reciting in ensemble education without a teacher present.

This thesis focuses on how music can affect the experience you get from motion picture, and the process of writing music to it. A scene from the movie Jurassic Park from 1993, was used to write new movie music to, with the purpose of investigating whether the new music could induce other feelings than the original music. After preparations, studying and composing the new written orchestra piece The Dinosaur emerged, which was recorded with both digital sounds and real string instruments. A survey was made where test persons got to see both scenes with the two different music components and describe their feelings by answering a questionnaire. Questionnaire showed that the test persons felt more different feelings to the scene with the new music, and showed more the same emotions when the scene with the original music was shown. This work has resulted in the author gaining a deeper understanding of the composing of film music, as well as how movie music can affect an audience’s feelings.

The purpose of this study is to examine methods of learning two different songs with sight-reading and by ear as main resources in a pop- rock ensemble. To investigate this, we constructed a band rehearsal consisting of four college students, studying music. Their assignment was to learn two newly composed songs in the pop and rock genre. The whole rehearsal was documented with videocameras and later we interviewed the informants about their experience and approach towards the task. They also got to answer a questionnaire about their musical background and former experience of learning song by ear or reading sheet music. All of the empirical materials has been analyzed through a design theory perspective. The resultat are divided in three main categories; the strategies and designs of the individual, those of the ensemble and the different roles that appeared in the ensemble. Our analysis, regarding the overall design used by the ensemble, is supported by tables giving perspicuous overviews of the learning processes. Our most important results are that notation as well as musical sounds need one other to receive deeper musical meaning. This is shown by the informants as they notate musical sound in different ways as well as make sound of notation in order to help each other in the process. All of the informants used their voice in different ways to learn their individual parts as well as when they helped each other. The approaches to learn each song were also different in the way that the sight reading-song was divided in sections during the rehearsal. Playing by ear, the participants rehearsed the song in a holistic way by playing it from the start till the end multiple times. The result of this study can be used by music teachers in their choice of recourses when teaching students, in a pop/rock ensemble, new songs.

The purpose of the study was to illustrate and compare the changes taking place in municipal music school activities when these were exposed to competition and financing via voucher systems. The investigation was limeted to Nacka and Österåker, the municipalities where the system has been used the longest. We examined, through interviews with city officials and music school managers – plus a questionnaire study among music masters – the factors that had led to changes in the activities and how people reacted to these changes, as well as how the various parties appraised the future of the music school. The results of the survey showed that the changes in the activities were due to the design of the voucher system and the municipality's control. Nacka and Österåker had created different voucher systems that led to different consequences for the activities. Österåker’s system was more generous to the customer than the Nacka system. Meanwhile Österåker chose to a greater extent to control the activities of the music school in order to achieve a certain degree of fairness between the parties. A positive result of the opening to competition was, according to the informants, that customers did not have to queue up for activities. On the other hand, the consequence of no queuing was that it has become harder for many teachers fill up their posts with pupils. The continuous process of recruiting new pupils and the feeling of responsibility for filling up their own posts caused stress among the teachers. On a competitive market, the need for marketing is increasing and we saw a risk that the breadth of musical instruments and genres will decrease if the customer does not receive sufficient information about the offerings of the local music school. The teachers and three out of four informants wished for the future that the local music school should have the mission to preserve the diversity and breadth regarding genres and musical instruments.

This study aims to provide insight, comprehension and ideas of how to interpret the ele- ment of music-creating according to the current curriculum in Music in Swedish primary school – Läroplanen för grundskolan, förskoleklassen och fritidshemmet 2011 – Lgr11. With a focus in qualitative method, I have interviewed four active music teachers in hope of giving a somewhat clarifying insight to how they reflect around the element of music- creating in primary school. My main question in this study read as follows: how do primary school music teachers interpret the element of music-creating in the curriculum in Music? I have analyzed the interview material with inspiration and help from a hermeneutic and fenomenographic perspective sprung out of a humanistic scientific point of view. The result of this study seems to indicate four prominent interpretations of music-creating in primary school: 1) music-creating as songwriting composition; 2) music-creating as sha- ping communication; 3) music-creating as musicking interaction; 4) and music-creating as digital production. Four different interpretations that, according to earlier research in the subject and by Skolverket’s definition of the term music-creating; all seem to be fair and legit interpretations of the element of music-creating in Swedish primary school 2015.

This study aims to determine whether pupils, students and teachers at various music schools feel that there is a difference in status between different music styles/genres, and if this has an impact on the individual level. The survey was conducted with a digital survey that was e-mailed to junior/high schools with music profile in the Stockholm area and to all the teachers and students at the Royal College of music in Stockholm (KMH). Due to low participation by students and teachers from the junior/high schools the students and teachers of KMH became the main object of the study. The results shows that a majority of the main group of this study feels that there is a difference in status between different music styles/genres. The study also shows that half of the participants believe that the difference in status affects them on an individual level. The discussion that follows the results focuses on the difference in status as a result of the education structure and therefore the normative structure of the school.